| Author | |
|---|---|
| Imprint | |
| Publication Year | 2015 |
| Language | English |
| Edition | 1 |
| Binding | Paperback |
| Pages | 106 |
First Infinities
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About the Book
Hell, or a state very much like it, does feature in Nambisan’s poetic underworld, which is deep, intricate and enticing. …… – From the Preface by Adil Jussawala Nambisan’s view of humankind is bleak, his view of the possibilities of poetry even bleak
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Nabanita Kanungo’s collection is simultaneously an elegy and a victory song. A documentation of the heartbreaks that have plagued our subcontinent for the past century or so, her poems re-define the lyric form, chronicling the unfolding of a personal self framed by larger political events. Here, history appears as a long, continuous saga of violence, in which Partition memories remain juxtaposed within the everyday lived realities and violences of neoliberal Indian cities. With this collection, Kanungo provides a ghostly account of quotidian survival?stories that remain forever out of official histories?and re-defines the meaning of Anglophone India political poetry of contemporary times.Nabanita Kanungo’s poems ache with an awareness of how poetry cannot truly evoke anything but absence, of how ‘It rains and words say nothing’; ‘Only memory is green’. In this tragedy, Kanungo finds the only solace available to the poet: a luminous quality in the every day, the ‘Mirror where things are simply written with light’. These poems work in the liminal spaces of the world and of the self, between the present moment and its turning into memory, between words and rain.
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Bookmarking the Oasis
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The poems in Bookmarking the Oasis slide between water and land as they reflect on boundaries, partings, and the identities thrust on us. Luminous, quiet, courageous, Srilata’s poems plunge into the poetics of the everyday, recording fugitive moments with humour, irony and compassion. Nothing escapes the poet?s eye, whether the classroom’s tyranny for both teacher and taught, the blindness of experts, the vulnerabilities of childhood, or the volatile interiors of the human mind. Some poems draw on other poets’ voices, beginning conversations and uncovering strange resonances. Connecting it all is the image of the oasis, unexpected, delicious; a serene, fluid clearing in the mind, bookmarked for later, that allows poetry – and everything else – to happen
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Scripted in the Streams
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There is an intense humanity in these poems by Rati Saxena, a humanity that ennobles all of us who are humble enough to listen. There is an empathy is these poems for all living things – for the spider, for the ant, for the owl – and a similar understanding of all things that may not be alive. -Alan Titley, Professor Emeritus of Modern Irish, University College, Cork It has travelled a long, long way this voice?and we welcome it as we would do a stranger, into the West where despair, decline and decay are seemingly permanent lodgers, Saxena’s lyrics arrive like a fresh breeze. New-born, fresh and smelling of the earth, her poems draw on the well of Indo-European tradition, the intimate links that bind the female psyche and the landscape in all its fecundity. -Dr Michel h’Aodha, University of Limerick Saxena allows for different aeons to melt into each other. She creates a world in which humans interact with insects and animals. We are all of and from the same source. The image of the snake is a powerful one to explain the frustrations of modern women in today’s India. Her vision makes a mockery of the boundaries around our lives and we sail with her through a magical world, coming into contact with the source of life itself. There are echoes of Flann O’ Brien in the delightful poem about the bicycle of her youth. Taboos and rituals will not enslave her and poetry finds its way into the washing on the line and the fire that bakes our daily bread. – Ceaiti Ni Bheildiuin, poet In this selection of the poems of Rati Saxena we are drawn into a world of imagery where deep respect is shown for the low -Brian O Conchubhair, University of Notre Dame, USA
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The Acrobat Of Oblivion
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Maximum Security Guilt is a jail built around the soul brick on brick it holds back the free movement of the mind, the simple gesture of the heart. Brick on brick the sinful bricklayer learns the mastery of the engineer, of the painstaking.
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The Owl and the Laughing Buddha
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The poems in The Owl and the Laughing Buddha bring a ‘lighthouse sweep of attentiveness’ to their subjects. This is a book about noting, from the title poem’s companionable but contrasting figures on a writing desk to the devastating aftermath of a cloudburst in the mountains, and from a flier’s eye-view to a walker’s – and a mole’s. Here are poems interested in gods and figures of myth, and in observing houses, trees, birds and other creatures in a changing neighbourhood; poems that talk shop with fellow poets and respond to works of art and culture; and poems that watch our responses to the daily catastrophes that sometimes constitute ‘news’ – whose interest is no less a matter of whimsy, perhaps, than some of the tales narrated in the final section of the book. Yet the poems rest on an implicit conviction that everything must be given its due and treated seriously – though not solemnly, for it is mirth, after all, that is the laughing Buddha’s centre of gravity. Treading margins between the real and the imagined, the concerned and the tongue-in-cheek, this is Menon’s third collection of poems.
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Banaras And The Other
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Ashwani Kumar’s poems in ‘Banaras and The Other” are a mischievous irreverence turned at times to the present and at times to the past. The personal and the political, memories and nostalgia, mythical characters and contemporary parodies mix and mingle in these poems in diverse proportions to produce a rare poetic energy that belongs entirely to our times of pain and paradox. –K. Satchidanandan
Ashwani Kumar’s Banaras and the Other captivates us as a delightful romp through myth, folklore and history. Read past the revelry, however, and you will see that it engages passionately and provocatively with the fissured, schismatic scenarios of 21st century India.–Ranjit Hoskote
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Says Tuka-Selected poems of Tukaram
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Tukaram was born in 1608 and vanished without a trace in 1650. what little we know of his life is a reconstruction from his own autobiographical poems, the contemporary poetess Bahinabai’s memoirs in verse, and the later biographer of Marathi poet-saints, Mahipati’s account. The rest is all folklore, though it cannot be dismissed on those grounds alone. Modern scholars such as the late V. S. Bendre have made arduous efforts to collate evidence from disparate contemporary sources to establish a well-researched biography of Tukaram. But even this is largely conjectural.
Tukaram is therefore not only the last great Bhakti poet in Marathi but he is also the first truly modern Marathi poet in terms of temper and thematic choice, technique and vision. He is certainly the most vital link between medieval and modern Marathi poetry. Tukaram’s stature in Marathi literature is comparable to that of Shakespeare in English or Goethe in German. He could be called the quintessential Marathi poet reflecting the genius of the language as well as its characteristic literary culture. There is no other Marathi writer who has so deeply and widely influenced Marathi literary culture since. Tukaram’s poetry has shaped the Marathi language, as it is spoken by 70 million people today and not just the literary language. Perhaps one should compare his influence with that of the King James version of the Bible upon speakers of the English language. For Tukaram’s poetry is also used by illiterate millions to voice their prayers or to express their love of God.
